Reflections on Retelling a Renaissance Murder

This mischievously artful essay plays out on several levels; think of them as storeys of an imaginary castle much like the real, solid, central Italian one it explores and expounds. On its own ground floor, the essay recounts a gruesome murder, a noble husband's midnight revenge upon his wife and upon her bastard lover, his own half–brother, in her castle chamber, in bed. In sex. Of course. The murder itself is pure Renaissance, quintessential Boccaccio or Bandello, but the aftermath, in fort and village, is more singular, more ethnographically delightful, as castle and village trace a ceremonious passage from frozen limbo to fluid grief and storytelling, finally set in motion by the arrival of the dead wife's brother. Meanwhile, one flight up, the essay retells my own investigation of the real castle's geometry, as I clambered through rooms, peered out windows, prowled the roof, and scanned blueprints seeking the places of the plotters' plots. In an expository attic, I lodge reflections on my teaching stratagems, as I led a first–year seminar into detection's crafts and exposition's ploys. All the while, on its rooftop, this essay dances among fantastical chimneys and turrets of high theory and literary practice, musing on the patent irony of artful artifice, which evokes both the irony and the pathos of scholars' cool histories about hot deeds and feelings. Art suggests we authors had best hide ourselves, unlike normal essayists, so as not to spoil the show. But, I posit, our self–effacement is so conspicuous that it proclaims our presence, as in fact it should, and, by so doing, trumpets the necessary tensions of our artifice and craft. Thus artfulness itself nicely both proclaims and celebrates the bittersweet frustrations of historians' and readers' quest for knowledge and, especially, for experience of a lost past.     

Land, Kinship Relations and the Rise of Enclosed Settlement in First Millenium B.C. Britain

Enclosed settlements are characteristic of the first millennium B.C. in Britain, contrasting with the predominantly open settlements of the fourth to second millennia. Settlement enclosures have recently been interpreted in symbolic terms, the enclosure marking social divisions between social groups. Anthropological studies indicate that divisions between groups may be more clearly marked in societies which use land intensively than in ones which use it extensively, because of the need to prevent valuable land from passing outside the group by out-marriage and inheritance. The earlier first millennium B.C. was a period of agricultural intensification in Britain. It is suggested that settlement enclosure became widespread at this time because agricultural intensification led to land becoming more valued as a form of property. This in turn led to changes in kinship relations, with the division between 'insiders' and 'outsiders' becoming more significant than before. Apparently 'special' deposits of material in enclosure ditches have been interpreted as a way of reinforcing such a division.     

Some Remarks on the Origin and Chronology of Halberds in Europe

The present article examines the chronology of the various types of halberd in Europe with particular attention to those from the Iberian Peninsula. An older substrate of halberds is identified which originates in Ireland and Great Britain. From there the design of the Breaghwy type was distributed to the Continent, where the idea and the design were soon imitated in the form of the Rouans, Carrapatas and Variant 6 Continental types. The success of the idea of the halberd is explained by its high prestige character.